Celtic Mass Mass

CeltiC Mass MiChael MCGlynn Mass JaMes MaCMillan

DE 3493

taylor Festival Choir

robert taylor1 , ConduCtor

MiChael MCGlynn: CeltiC Mass

JaMes MaCMillan: Mass

McGlynn: celtic Mass (28:33) MacMillan: Mass (39:04) celebrant: brandon Hendrickson 1. Kyrie (2:04) 10. Kyrie (7:29) 2. Gloria (4:01) 11. Gloria (7:14) 3. Responsorial: Codhlaím go Súan (3:52) 12. Alleluia (1:41) 4. Credo (6:36) 13. Sursum Corda (0:43) 5. Alleluia: Incantations (1:20) 14. Preface of the Holy Eucharist II (2:05) 6. Ave Maria (2:34) 15. Sanctus and Benedictus (4:55) 7. Sanctus (3:29) 16. Eucharistic Prayer (3:54) 8. Pater Noster (2:18) 17. Memorial Acclamation (5:24) 9. Agnus Dei (2:16) 18. Agnus Dei (5:35) Soloists: Tina Zenker Williams, soprano (1, 2, 7); Kori Miller, soprano (2, 3, 7, 8); Ansley Lucas, contralto (6); Emmalee Hinson, mezzo-soprano (7); Esther Rose taylor Festival cHoir: Williams, mezzo-soprano (9); Michael robert taylor, conductor Sheaffer, tenor (1,8); Brandon Hendrickson, baritone (2, 4, 7) Total Playing Time: 67:37

2 conductor’s Preface Although these two Masses are unique spiritual expressions by distinctly different compositional he idea for this recording began during voices, they share certain commonalities. Both a trip to Dublin, Ireland, in the winter of works seamlessly combine modern and ancient T2007. It was then that I first met com- methods and aesthetics. Both are influenced by poser/conductor Michael McGlynn, whose work the folk idioms of the composers’ homelands. I had admired since the mid-1990s. After mining And both conclude with a feeling that humani- his imagination for ideas for the Taylor Festival ty’s search for the divine – for truth – is ongoing. Choir, mention was made of a Celtic Mass he had written little by little over the years. As things So it is with a sense of true privilege that the Taylor Festival Choir has recorded these works. tend to happen, one discussion led to another, This is the world premiere recording of the Mc- and it wasn’t long before I realized that I want- Glynn Celtic Mass. It is also, to my knowledge, ed to not only perform this Celtic Mass but also only the second recording of MacMillan’s Mass, record it. What a unique piece! To me, Michael’s and the first with female sopranos and altos. works give modern compositional voice to the We hope the listener derives as much inspira- ancient strains of Ireland’s spiritual past, with all tion from hearing this great music as we did in of its native nuances and continental influences. performing it.

Once my mind was made up to record Mi- Namaste and Sláinte. chael’s Celtic Mass, divine providence led me to another work that I intuitively knew would – Robert Taylor be the perfect companion for what has turned out to be a disc of two Masses of “Celtic” origin. I speak of the Mass setting presented here by Sir James MacMillan. While I have not had the Program notes privilege of meeting the recently knighted Sir James, I must say that his music struck a deep Michael McGlynn would be the first to say chord within me when I initially encountered it that his music “would not be considered Irish through the work of Harry Christophers and in Ireland.” The Dublin-born composer, known The Sixteen. Like McGlynn (and my hero Ralph in part for his work with his Anúna choral en- Vaughan Williams), MacMillan’s music uniquely semble and for his settings of Gaelic texts such synthesizes ancient influences of his homeland as “Dúlamán,” mixes aspects of traditional Irish (you can hear echoes of Scottish Renaissance music with the influences of medieval, Renais- master Robert Carver, as well as traditional sance, and modern composers to create what Scottish fiddle and pennywhistle flourishes) with McGlynn calls “an amalgamation of forms.” In a strongly modern idiom. his Celtic Mass, McGlynn has not simply creat-

3 ed a Mass setting through a folk music lens, but One of the elements that make McGlynn’s rather has incorporated a variety of elements: mass “Celtic” in nature is his inclusion of sev- Irish texts, rollicking Celtic rhythms, and music eral movements with Irish texts. The haunting that reveals influences from DuFay to Benjamin “Codhlaím go Súan,” a showcase for a talented Britten and Bulgarian choral music. soprano soloist, features an Irish text (written by McGlynn) about Christ’s presence throughout The Celtic Mass includes not only the expected the stages of people's lives. The second move- Latin texts (Kyrie, Gloria, Credo, Sanctus, Agnus ment in Gaelic, “Alleluia: Incantations,” is a chal- Dei), but also movements in Gaelic (“Codhlaím lenging movement whose text, as is common go Súan,” “Incantations”) and settings of addi- in Irish prayers, depicts the oneness of Christ tional Latin texts not traditionally found in mu- with various elements of nature. The windingly sical treatments of the Mass (Pater Noster and chromatic “Ave Maria,” set for mezzo-sopra- Ave Maria). His meditative setting of the Kyrie no soloist and string quartet, reflects a sense begins the work, featuring a formidable sopra- of weighty drama that is not apparent in the no solo and colorful sonorities for the choir. The other movements of the Mass. Following this Gloria, recorded here for the first time, marries comes the austere and entrancing “Sanctus,” Celtic rhythms with medieval and jazz sonori- whose prayerful drones, swirling harp figures, ties. The Credo, newly composed by the time of and ethereal vocal lines evoke a sense of sacred this recording, presents a dramatic tapestry of mystery. The next movement, the otherworldly the elements of the Christian faith. The move- and somewhat ethnic-sounding “Pater Noster,” ment perfectly paints ideas of celebration and owes its influence to Bulgarian chant. The work praise in the opening section (“Credo in unum closes with a shimmering setting of “Agnus Dei,” Deum”), prayerfulness (“Et incarnatus est”), whose final call of “Dona nobis pacem” (“Grant and drama and turbulence at the statement of us peace”) is set in such a way that the listener Christ’s crucifixion (“Crucifixus”). Christ’s descent does not reach a point of arrival. With the solo- into death is depicted by mournful dissonance ist in slight harmonic contrast to the underlying and extremely low vocal ranges (“Et sepultus choir, one senses that the search for peace is, est”). In contrast, Christ’s ascent into heaven indeed, an ongoing journey. is approprately announced by heavenly harp textures and peaceful unison singing, signifying wholeness of purpose and the completion of Christ’s mission. This in turn gives rise to a cel- – Karen Marrolli ebratory, dancelike recapitulation of McGlynn’s original “Credo in unum Deum” theme and a dramatic, stately finale that expresses a belief in the universal church and the expectation of believers’ resurrection and new life after death.

4 Sir James MacMillan stated in a recent BBC segments that are musically related to the larg- interview that “Music seeks out the sacred… er choral sections. in a sense, all music is sacred.” This beautifully expressed ideal is fundamental to MacMillan’s The Ordinary movements form the choral considerable musical oeuvre – one that rang- backbone of the Mass. The sound environ- es from large symphonic and choral/orchestral ment of the opening Kyrie captures both the works to chamber music for both instrumental internal and external atmosphere of the wor- and choral forces. Still, as with Johann Sebastian ship experience. It begins with organ figures Bach, sacred choral music seems to stand at the that seem to represent the swirling smoke of center of this composer’s output. incense and candles … or, one might also argue, the presence of the Divine. MacMillan employs Born in Glasgow, MacMillan has become an traditional points of imitation as the movement international superstar of “classical” music. Yet, unfolds, and immediately establishes (in the he remains firmly grounded in the culture and baritone solo) the Mass’s unifying theme: a fig- heritage of his native Scotland, and in his deep ure that – with its initial leap of a fifth, followed Catholic faith. Both of these formative influenc- by a turning melisma and an ascent – encapsu- es can be distinctly heard in his Mass. lates the above-mentioned sense of yearning. An impassioned, almost desperate, concluding Written at the turn of the new millennium for iteration of the Kyrie gives way to smoky organ London’s Westminster Cathedral, the Mass figures, leading into the beginning of the Glo- presented here is one of three MacMillan Mass ria. Typically a joyful moment within the Mass, settings, but the only one written for a profes- MacMillan’s Gloria is emotionally varied, ecstat- sional choir. Set in the vernacular rather than ic one moment and then by turns prayerfully liturgical Latin, the overall mood of the Mass is reverent and mystical. The “yearning” motif a sense of yearning for the Divine, a yearning again serves as organic material, as the move- that is at times in conflict with the weight of ment begins and ends with the motif modified everyday existence in a frenetic world. MacMil- to include the soprano’s leap to a heavenly high lan sets the usual, or fixed, parts of the Mass B-natural. (called the Ordinary), minus the Credo: Kyrie, Gloria, Sanctus and Benedictus, and Agnus Dei. The work’s most dramatic movement is the These movements are connected by the Alle- Sanctus and Benedictus, whose two main sec- luia, Sursum Corda, Preface, Eucharistic Prayer, tions begin with subdued, ascending buildups and the Memorial Acclamation. MacMillan uses on the yearning motif, culminating in sudden traditional methods to present the texts of the bursts of energy that combine “traditional mu- varying parts of the Mass, or Proper – Psalm sic” figuration, contrapuntal rigor, and virtuosic tone recitation, clergy/congregational call and organ flourishes into a texture of choral ecsta- response – but mixes in some more melodic sy. The Agnus Dei is the Mass’s most subdued

5 section from a dynamic standpoint, as MacMil- Domine Fili unigenite Jesu Christe. lan resists moving the dynamic beyond piano. Domine Deus, Agnus Dei, While much of the choral writing is pure bliss, by Filius Patris. using telling dissonance and seemingly unrelat- Qui tollis peccata mundi, ed organ rumblings MacMillan reminds us that miserere nobis. the search for the sacred, so close to his heart, Qui tollis peccata mundi, is one fraught with modern doubt and anxiety. suscipe deprecationem nostram. Qui sedes ad dexteram Patris, –Robert Taylor O miserere nobis. Quoniam tu solus Sanctus, tu solus Dominus, tu solus Altissimus, Jesu Christe. mcglynn – celtic mass Cum Sancto Spiritu in gloria Dei Patris. Kyrie Amen.

Kyrie eleison. • Christe eleison. Glory to God in the highest. Kyrie eleison. And on earth peace to all those of good will. • We praise thee. We bless thee. Lord, have mercy. We worship thee; We glorify thee. Christ, have mercy. We give thanks to thee Lord, have mercy. according to thy great glory. Lord God, Heavenly King, God the Father almighty. Gloria Lord Jesus Christ, the only begotten Son. Lord God, Lamb of God, Gloria in excelsis Deo. Son of the Father. Et in terra pax Thou who takest away the sins of the world, hominibus bonæ voluntatis. have mercy upon us. Laudamus te; benedicimus te; Thou who takest away the sins of the world, adoramus te; glorificamus te. receive our prayer. Gratias agimus tibi Thou who sittest at the right hand of the Father, propter magnam gloriam tuam. have mercy upon us. Domine Deus, Rex coelestis, For thou alone art holy, Deus Pater omnipotens. Thou alone art the Lord,

6 Thou alone art the most high, Jesus Christ. I sleep softly in Your heart With the Holy Spirit Naked He stands at the dawn in the glory of God the Father. In the new-born child Amen. He is there at the end As the soul parts from the body

Responsorial: Codhlaím go Súan Curfá

Téann sé leis an ngaoth Do sharú níl ann ar throicaireacht nó grá Tagann sé ar na dtonnta Ní féidir do chumhacht a thuiscint Comhlíonann sé mo ghuí Is tusa mo mhuinteoir s’treoraí Nuair a ghlaochaim i ndoircheacht na hoíche Codhlaím go sùan id’ chroí • • He comes with the wind Chorus He goes on the waves He hears my prayer There is no one so full of mercy and love When I call Him in the darkest moment There is no way to understand Your goodness of the night You are my teacher and guide I sleep softly in Your heart Curfá

Sùan, sùan, sùan Credo Codhlaím go sùan, a Íosa Sùan, sùan, sùan Credo in unum Deum; Codhlaím go sámh id’ chroí Patrem omnipotentem, Nochtar é sa tús factorem coeli et terrae, San leanbh nua bheirthe visibilium omnium et invisibilium. Maireann sé sa chríoch Credo in unum Dominum Jesum Christum, Ar scaradh anam is coirp Filium Dei unigenitum, Et ex Patre natum ante omnia sæcula. • Deum de Deo, lumen de lumine, Deum verum de Deo vero, Chorus Genitum non factum, consubstantialem Patri: Softly, softly, softly per quem omnia facta sunt. I sleep softly, my Christ Qui propter nos homines, Softly, softly, softly et propter nostram salutem 7 descendit de coelis. And I believe in one Lord, Jesus Christ, Et incarnatus est de Spiritu Sancto the only begotten Son of God, ex Maria Virgine: et homo factus est. born of the Father before all ages; God from God, light from light, Crucifixus etiam pro nobis True God from true God. sub Pontio Pilato, Begotten, not made, passus et sepultus est. of one substance with the Father Et resurrexit tertia die by whom all things were made. secundum Scripturas. Who for us Et ascendit in coelum: and for our salvation sedet ad dexteram Patris. descended from heaven; Et iterum venturus est cum gloria, And was incarnate by the Holy Spirit judicare vivos et mortuos: of the Virgin Mary, and was made man. cujus regni non erit finis. Et in Spiritum Sanctum, He was crucified also for us Dominum, et vivificantem: under Pontius Pilate, qui ex Patre Filioque procedit. he suffered, and was buried. Qui cum Patre et Filio simul And on the third day he rose again, adoratur et conglorificatur: according to the Scriptures: qui locutus est per Prophetas. He ascended into heaven and He sits at the right hand of the Father; Credo in unam sanctam He shall come again with glory catholicam et apostolicam Ecclesiam. to judge the living, and the dead; and of his kingdom shall have no end. Confiteor unum baptisma, in remissionem peccatorum. I believe in the Holy Spirit, the Lord and Giver of life, Et expecto resurrectionem mortuorum who proceeds from the Father and the Son et vitam venturi sæculi. Amen. who together with the Father and the Son is adored and glorified, • who spoke to us through the Prophets. I believe in one God; And I believe in one, holy, The Father Almighty, catholic and apostolic Church. maker of heaven and earth, and of all things visible and invisible. I confess one baptism for the remission of sins. 8 And I await the resurrection of the dead, Hail Mary, full of grace, the Lord is with thee and the life of the world to come. Amen. Blessed art thou among women, And blessed is the fruit of thy womb, Jesus. Alleluia: Incantations Hail Mary, Mother of God Pray for us sinners, ‘S Tusa an dámh, ‘s Tusa an éan Now and at the hour of our death. Amen. ‘S Tusa an tiasc, aililú ‘S Tusa an ghaoth, ‘s Tusa an fuacht ‘S Tusa an mhuir, aililú Sanctus ‘S Tusa an ghrian, ‘s Tusa an réalt Sanctus, Sanctus, Sanctus, Dominus Deus ‘S Tusa an spéir, aililú Sabaoth. ‘S Tusa an féar, ‘s Tusa an bláth, Pleni sunt coeli et terra gloria tua. ‘S Tusa na crainn, aililú. Osanna in excelsis. Aililú mo Íosa, aililú mo chroí Aililú mo Thiarna, aililú mo Chríost • • Holy, Holy, Holy, Lord God of Hosts. Heaven and earth are full of Thy glory. You are the stag, You are the bird Hosanna in the highest. You are the fish, alleluia You are the wind, You are the cold You are the sea, alleluia Pater Noster You are the sun, You are the star You are the sky, alleluia Pater noster, qui es in caelis, You are the grass, you are the flower sanctificetur nomen tuum; You are the trees, alleluia Adveniat regnum tuum. Alleluia my Jesus, alleluia my heart Fiat voluntas tua sicut in caelo et in terra. Alleluia my Lord, alleluia my Christ Panem nostrum quotidianum da nobis hodie, Et dimitte nobis debita nostra, Ave Maria sicut et nos dimittimus debitoribus nostris. Et ne nos inducas in tentationem; Ave Maria, gratia plena: Dominus tecum sed libera nos a malo. Amen. Benedicta tu in mulieribus Et benedictus fructus ventris tui, Jesus. • Sancta Maria, Mater Dei Ora pro nobis peccatoribus Our Father, who art in Heaven, Nunc et in hora mortis nostrae. Amen. hallowed be thy name; Thy kingdom come. • Thy will be done on Earth as it is in heaven. 9 Give us this day our daily bread. Gloria And forgive us our debts, as we forgive our debtors. Glory to God in the highest, And lead us not into temptation, and peace to his people on earth. but deliver us from evil. Amen. Lord God, heavenly King, almighty God and Father, we worship you, we give you thanks, we praise you for your glory. Agnus Dei Lord Jesus Christ, only Son of the Father, Agnus Dei, Lord God, Lamb of God, qui tollis peccata mundi, you take away the sins of the world: miserere nobis. have mercy on us; Agnus Dei, You are seated at the right hand of the Father: Dona nobis pacem. receive our prayer. For you alone are the Holy One, • you alone are the Lord, Lamb of God, you alone are the Most High, Jesus Christ, Who takest away the sins of the world, with the Holy Spirit, have mercy upon us. in the glory of God the Father. Amen. Lamb of God, Grant us peace. Alleluia macmillan – mass Alleluia, Alleluia! I am the living bread Kyrie which has come down from heaven, says the Lord. You were sent to heal the contrite: Lord, have mercy. Anyone who eats this bread will live for ever. You came to call sinners: Christ, have mercy. Alleluia! You plead for us at the right hand of the Father: Lord, have mercy. Sursum Corda (call-and-response)

The Lord be with you. And also with you.

10 Lift up your hearts. Sanctus and Benedictus We lift them up to the Lord. Let us give thanks to the Lord our God. Holy, holy, holy Lord, God of power and might. It is right to give him thanks and praise. Heaven and earth are full of your glory. Hosanna in the highest. Blessed is he who comes in the name of Preface of the Holy Eucharist II the Lord. Father, all-powerful and ever-living God, Hosanna in the highest. we do well always and everywhere to give you thanks through Jesus Eucharistic Prayer Christ our Lord. At the last supper, as he sat at table Lord, you are holy indeed, the fountain of all with his apostles, holiness. he offered himself to you as the spotless lamb, Let your Spirit come upon these gifts to make the acceptable gift that gives you them holy, perfect praise. so that they may become the body and blood Christ has given us this memorial of his passion of our Lord, Jesus Christ. to bring us its saving power until the Before he was given up to death, end of time. a death he freely accepted, he took bread In this great sacrament you feed your people and gave you thanks. He broke the bread, and strengthen them in holiness, gave it to his disciples, and said: so that the family of mankind may Take this, all of you, and eat it: come to walk this is my body, which will be given up for you. in the light of one faith, in one communion When supper was ended, he took the cup. of love. Again he gave you thanks and praise, We come then to this wonderful sacrament gave the cup to his disciples, and said: to be fed at your table Take this, all of you, and drink from it: and grow into the likeness of the risen Christ. this is the cup of my blood, Earth unites with heaven to sing the new song the blood of the new and everlasting covenant. of your creation as we adore and praise you It will be shed for you and for all for ever. so that sins may be forgiven. Do this in memory of me.

11 Memorial Acclamation Agnus Dei

Let us proclaim the mystery of faith: Lamb of God, you take away the sins of the world: When we eat this bread and drink this cup, have mercy on us. we proclaim your death, Lord Jesus, until you Lamb of God, you take away the sins of the world: come in glory. have mercy on us. In memory of his death and resurrection, Lamb of God, you take away the sins of we offer you, Father, this life-giving bread, this the world: saving cup. grant us peace. We thank you for counting us worthy to stand in your presence and serve you. May all of us who share in the body and blood of Christ be brought together in unity by the BiograPhies Holy Spirit. James MacMillan is the pre-eminent Scottish Lord, remember your Church throughout the world; composer of his generation. He first attracted at- make us grow in love, together with Francis tention with the acclaimed BBC Proms premiere our Pope, of The Confession of Isobel Gowdie (1990). His Robert our bishop, and all the Clergy. percussion concerto Veni, Veni Emmanuel (1992) Remember our brothers and sisters, has received close to 500 performances world- who have gone to their rest in hope of wide by orchestras including the London Sym- rising again. phony Orchestra, the New York and Los Ange- Bring them, and all the departed, les Philharmonics, and the Cleveland Orchestra. Other major works include the cantata Seven Last into the light of your presence. Words from the Cross (1993); Quickening (1998) Have mercy on us all; make us worthy for soloists, children’s choir, mixed choir, and or- to share eternal life with Mary, chestra; the operas Inès de Castro (2001) and The the virgin mother of God, with the apostles, Sacrifice (2005-06); and St John Passion (2007). and with all the saints He was featured composer at the Edinburgh who have done your will throughout the ages. Festival (1993), Southbank Centre (1997), May we praise you in union with them, BBC’s Barbican Composer Weekend (2005), and give you glory through your Son, Jesus Christ. and Grafenegg Festival (2012). His interpret- Through him, with him, in him, ers include soloists Evelyn Glennie, Colin Cur- rie, Jean-Yves Thibaudet, and Vadim Repin; in the unity of the Holy Spirit, conductors Leonard Slatkin, Sir Andrew Da- all glory and honor is yours, almighty Father, vis, Marin Alsop, and Donald Runnicles; and For ever and ever. Amen. choreographer Christopher Wheeldon. Re- 12 cordings of his music can be found on BMG/ in Ireland, and is a successful record producer, RCA Red Seal, BIS, Chandos, Naxos, Hy- solo tenor vocalist, filmmaker, and ardent sea perion, Coro, Linn, and Challenge Classics. swimmer.

Recent highlights include premieres of Mac- Millan’s Woman of the Apocalypse, St Luke Pas- Dr. Robert Taylor is the Founding Artistic sion, Little Mass and Percussion Concerto No. Director and President of the Taylor Festival 2. Future plans include a Requiem and a Stabat Choir (TFC) and Taylor Music Group (TMG), the Mater, alongside works for leading internation- Director of Choral Activities at the College of al orchestras. Charleston in South Carolina and the Director of the Charleston Symphony Orchestra Chorus Born in Dublin, Ireland, Michael McGlynn and Chamber Singers. Called a “rising star in founded the choral ensemble Anúna, whose the international choral scene” and a “true mas- repertoire – since its 1987 founding – features ter of his craft,” Taylor’s choirs have been de- his compositions and arrangements almost scribed as sounding “more musical than would exclusively. McGlynn’s compositional language seem possible,” and have received numerous combines elements of medieval and traditional plaudits from critics and choral specialists for music (modality, ornamentation and drones) their technical proficiency, musicality and beau- with jazz-tinged chordal clusters and a distinc- tiful sound production. Taylor’s ensembles have tive melodic sensibility. Many of these elements performed throughout the United States and can be heard in his “Agnus Dei” (2007) and Europe. They have been featured in numerous “Song of the Wind” (2012), both commissioned festivals, conventions, and special concerts, in- by Chanticleer. Much of his work is choral and cluding the 2005 and 2009 American Choral includes the hugely successful “Dúlamán” Directors Association (ACDA) National Con- (1995). Commissions, recordings, and perfor- ventions; the 2008, 2011, and 2013 National mances have come from Rajaton, the National Collegiate Choral Organization National Con- Youth Choir of Great Britain, Conspirare, the ventions; and multiple appearances in regional BBC Singers, the Phoenix and Kansas City Cho- and state ACDA and AGO conventions. Taylor’s rales, and New York Polyphony, who premiered groups also appear annually in Charleston’s and recorded his “O pia virgo” in 2014. prestigious Spoleto Festival U.S.A. and Piccolo Spoleto Festival. He has lectured and workshopped all over the world, and was Eminent Scholar at Florida At- Dr. Taylor’s professional ensemble, the Taylor lantic University from 2011 to 2013. Always flex- Festival Choir (TFC), has been hailed by critics ible, he has written songs with country music and choral specialists alike as being one of the legends Rodney Crowell and Delbert McClin- finest in the United States. Performing a full ton, has sung a duet on a number-one single season of concerts in the Charleston and Low-

13 praised. His recording of Vaughan Williams’ Epithalamion and An Oxford Elegy was hailed as “a highly accomplished performance,” one in which “his forces capture [Vaughan Williams’ score’s] ebb and flow perfectly” ( American Re- cord Guide). With the CSO Chorus, he has pre- pared numerous choral/orchestral masterworks for performances with prestigious conductors such as the late David Stahl, Dr. Joseph Flum- merfelt, JoAnn Faletta, Louis Solemno, Stuart Molina, Dr. Kenneth Fulton, and Dr. Joe Miller. As Director of Choral Activities at the College of Charleston, Dr. Taylor oversees all choral studies and endeavors, including leading the acclaimed Concert Choir and Madrigal Singers, and directing the choral strand of the College of Charleston’s Master of Arts in Teaching in the Performing Arts degree. He serves as editor of the Robert Taylor Choral Series with Colla Voce Publications and editor of TMG Publications.

Along with his wife, violinist/Irish fiddler Mary Taylor, Taylor coordinates the Celtic Arts Series (formerly the Taylor Music Festival) in Piccolo Spoleto: a series of concerts and workshops emphasizing musical education and performance in both classical and Celtic/folk disci- plines. Deeply involved with Piccolo Spoleto country areas, TFC also has toured throughout and with the Charleston Office of Cultural Af- the United States and Ireland and has recorded fairs, Taylor has received the Piccolo Spoleto with Centaur Records, MSR Classics, and Delos Lifetime Achievement Award. Recordings.

Taylor has conducted more than 35 major cho- The Taylor Festival Choir (TFC) is a profession- ral/orchestral works to critical acclaim, his in- al chamber choir based in Charleston, South terpretations of modern works and the works Carolina. Founded and conducted by Robert of Ralph Vaughan Williams being especially Taylor, the choir is inspired by the lives and 14 careers of Bob and Cornelia Taylor, the con- the TFC tours frequently and performs outreach ductor’s late parents and distinguished music concerts in schools and churches throughout educators. Since its inception in 2001, the Tay- South Carolina and surrounding states. lor Festival Choir has garnered a reputation for excellence among critics and choral specialists alike. The choir has been heard in prestigious Dr. Scott Bennett served as Organist-Choir- venues and festivals throughout the United master at Grace Episcopal Church in Charles- States, including performances at the 2008 ton, South Carolina, from 1996 to 2014. During American Choral Directors Association South- his time at Grace, the music program came to ern Division Convention, and the prestigious be considered one of the finest in the South- 2009 American Choral Directors Association east, producing five CD recordings (four on National Convention and 50th anniversary cel- the Pro Organo label), all with excellent re- ebration. In 2013, the TFC toured Ireland with views. Dr. Bennett’s performances in the United sister ensemble Na Fidleiri. States, Germany, Switzerland, and Scandina- via have garnered critical acclaim. Dr. Bennett The TFC has recorded with Centaur Records, has appeared frequently as a soloist with the MSR Classics, and Delos Productions. Its Christ- Charleston Symphony Orchestra, and has re- mas release Sing We Now of Christmas, recorded ceived numerous invitations as both soloist and with legendary Irish and Scottish traditional mu- conductor for concerts at the Piccolo Spoleto sic guest artists Liz Carroll, John Doyle, and Kim Festival in Charleston. Robertson, has been called “a choral feast that will linger long in your memory after you’ve heard it.” As a Rotary Foundation Scholar, he pursued The TFC is part of the Taylor Music Group, and postgraduate studies in organ performance serves as the professional choir-in-residence at and choral conducting at the Hochschule für the College of Charleston. It presents a full con- Musik in Cologne, Germany. Dr. Bennett earned cert season in the Charleston and Lowcountry the Bachelor of Music degree in Organ Perfor- areas, and serves as the flagship ensemble for the mance from Stetson University, and the Master Piccolo Spoleto Celtic Arts Series. of Music degree in Performance and Literature from the Eastman School of Music. He com- Personnel in the ensemble represent conduc- pleted his doctoral studies in performance and tors, educators, performers, and professionals history at the University of Memphis. from throughout the United States. The TFC performs the finest choral literature from all eras, with particular emphasis on new music and Brandon Hendrickson, baritone, is an ac- folk music from the Celtic nations. Dedicated to tive performer on the opera, concert, and re- bringing the beauty and spiritual enrichment of cital stages. Hendrickson’s “mellifluous” and choral music to as wide an audience as possible, “beautiful baritone,” as hailed by Opera News,

15 has been heard interpreting standard and con- ton Symphony Orchestra. Emmalee currently lives temporary operatic and recital repertoire on an in New Mexico and is the Artist and Community international level. He has performed approx- Liaison for the Santa Fe Desert Chorale. imately twenty operatic roles, including main- stream roles such as Gianni Schicchi, Papageno, Figaro, and Marcello, as well as contemporary Ansley Lucas, contralto, is a graduate of the roles such as John Brook in Adamo’s Little North Carolina School of the Arts (NCSA), Women and Demetrius in Britten’s A Midsum- where she studied opera performance under mer Night’s Dream. On the concert and recital the guidance of James Allbritten. She has per- stage, Hendrickson has performed throughout formed in productions at NCSA, the University the United States, including performances with of South Carolina, the Piedmont Opera Com- major orchestras such as the Great Falls Sym- pany, and Opera Carolina. Ms. Lucas has also phony Orchestra, the Charleston Symphony performed with the Charleston Symphony and Orchestra, the Oklahoma City Philharmonic, the Savannah Philharmonic. Performed oper- and many others. An active recitalist, Hendrick- atic roles include Florence Pike in Albert Her- son performs frequently by invitation. ring, Marcellina in The Marriage of Figaro, and Baba in the Medium. Ms. Lucas has sung with Dr. Hendrickson serves on the musical faculty at the Taylor Festival Choir, the Sandlapper Sing- the University of South Dakota, the state’s flag- ers, the Charleston Renaissance Ensemble, and ship university, where he co-directs the nation- various other choral ensembles. She currently al award-winning USD Opera. He holds music resides in Seattle, Washington. degrees from Louisiana State University (D.M.A. Vocal Performance and Pedagogy and M.M. Vo- cal Performance) and Simpson College (B.M.E.). Kori Miller, soprano, received her Bachelor’s Degree in Vocal Performance from the College of Charleston School of the Arts, where she was Emmalee Hinson, mezzo-soprano, received frequently featured by the College of Charles- her Bachelor’s Degree in Music History from the ton Concert Choir, Opera, and Piccolo Spoleto College of Charleston, and holds a Master of Mu- Young Artist Series. She has been featured as sic in Choral Music Studies from the University of a soloist with Charleston Symphony Orchestra Cambridge in England. While at Cambridge, she in performances of Handel’s Messiah, Vaughan studied conducting under Stephen Layton and Williams’ Dona Nobis Pacem and Serenade to sang with the Gonville and Caius College Choir Music, and the Fauré Requiem. Charleston To- under the direction of Geoffrey Webber. Since day and Post and Courier have praised her for returning to the States, Emmalee has been an possessing an “indescribable height of emotion active performer in Charleston, most recently as and hauntingly beautiful notes.” Ms. Miller has alto soloist in Handel’s Messiah with the Charles- been a featured soloist on two Taylor Festival

16 Choir compact disc releases. Operatic perfor- Tina Zenker Williams, soprano, is an active mances include Countess Almaviva in Mozart’s soloist throughout the southeastern United Le Nozze di Figaro, Ciesca in Puccini’s Gianni States. She has performed with the Florida Or- Schicchi, Yum-Yum in Gilbert and Sullivan’s Mi- chestra, the Charleston Symphony Orchestra, kado, and Lola in Moore’s Gallantry. and the Savannah Philharmonic, and has been praised for her “infectious melisma passages” and “beautifully etched voice.” She is a regular Michael Sheaffer, tenor, resides in Dallas, Tex- soloist with the Savannah Philharmonic, includ- as, and is the Director of Client Services for a ing performances of Mozart’s Requiem, Haydn’s real estate software company based in Santa Creation, and Handel’s Messiah. She has twice Barbara, California. He has been a featured so- been a featured recitalist in the Savannah Mu- loist in many large choral works in Oklahoma, sic Festival. Equally at home with early music, Texas, and South Carolina and has held leading Tina has performed with Savannah Baroque, roles in operas, operettas, and musical theater Catawba River Baroque, the Goliards, and the including Manon, Die Zauberflöte, The Gondo- Savannah Philharmonic Chamber Series. Tina liers, and Die Entführung aus dem Serail. Mr. did graduate work at the Peabody Institute, and Sheaffer earned a Music Ed. Degree with mi- earned a M.M. from Georgia Southern Universi- nors in Chemistry and Biology from the Univer- ty. She maintains an active private voice studio sity of Central Oklahoma and a Master of Music in Savannah, Georgia. and Master of Business Administration from Oklahoma State University.

Esther Rose Williams, mezzo-soprano, is an active soloist and recitalist throughout the Southeast. A graduate from the Furman School of Music, Ms. Williams is currently a staff singer in Charleston at Cathedral of St. John the Bap- tist. She is also a member of – and has been frequently featured as a soloist with – the Taylor Festival Choir and the Charleston Renaissance Ensemble. She has been involved in sever- al recording projects with the Taylor Festival Choir and has been featured as a soloist with the Charleston Symphony Orchestra in major works such as the Duruflé Requiem, Fauré Re- quiem, and Rutter Requiem.

17 singers, mcglynn celtic mass Andrea Scheulen Leanne Seabright Soprano Kiri Taylor Jaime Burney Courtney Cappel Alto Carina Gerscovich LaQuiavia Austin Kori Miller Emmalee Hinson Leanne Seabright Chelsea Loew Tina Zenker Williams Ansley Lucas Sophia Zimmerman Kirsten Onken Esther Rose Williams Alto Renee Blankenship Tenor Emmalee Hinson Kyle Harding Ansley Lucas Matthew Jones Karen Marrolli Joshua Overby Melissa Spaulding Paul Runyon Esther Rose Williams Michael Sheaffer Justin Watkins Tenor Kyle Harding Bass Richard Jobe Art Bumgardner Brian Ross Brandon Hendrickson Paul Runyon Lee Lingle Michael Sheaffer Lon Shull Steve Spaulding Mark Hightower Zack Smith Bass William Bennett Instrumentalists Jordan Boyd Dr. Scott Bennett – organ Art Bumgardner Jack Cleghorn – organ assistant Brandon Hendrickson Yuriy Bekker* – violin Mark Hightower Mary Taylor – violin Lee Lingle Jenny Weiss – violin Ben Weiss – viola • Greg Homza – cello Natalia Khoma – cello singers, macmillan mass Phyllis Mauney – harp Jaqueline Marshall – harp (Celtic Mass: “Codhlaím go Soprano Súan” and Sanctus) Courtney Cappel Kori Miller * violin soloist on Celtic Mass: "Codhlaím go Súan" and Katherine Matthews Agnus Dei

18 This recording is dedicated to the memories of four loved ones who passed away during the making of this disc: Cornelia Taylor (1937–2015), Joan Scott (1928–2013), Kevin Scott (1958–2013), and Rich Mays (1951–2014).

Recorded June 2012 and 2013. Bethany United Methodist Church. Charleston, SC Executive Producer: Carol Rosenberger Recording engineer: Rich Mays Session producer: Rich Mays Assistant session producers: Karen Marrolli and Yiorgos Vassilandonakis Mixing and editing: Benjamin Maas, Rich Mays, Matthew Snyder Booklet editors: Lindsay Koob, Anne Maley Graphic design and layout: Lonnie Kunkel Cover photo: Kilmacduagh monastery, a ruined abbey in County Galway, Ireland. Booklet back cover and inside photos: Sara Boyd